\n<\/p>\n
Following showings at the Aspen Art Museum<\/a><\/strong> and MOCA Cleveland<\/a><\/strong>, a retrospective of Margaret Kilgallen<\/a><\/strong>\u2019s work entitled That\u2019s Where The Beauty Is<\/em> concluded shortly before Christmas after a seven month run at the Bonnefanten Museum<\/a><\/strong> in Maastricht. The exhibition presented a comprehensive survey of the work of the artist who has become closely associated with San Francisco\u2019s Mission District.\u00a0<\/p>\n Visitors to the museum are first met by Jeff Canham<\/a><\/strong> and Signpainters & Co<\/a><\/strong>\u2019s re-creation of the Slaughter mural<\/a><\/strong> which Kilgallen painted with her husband Barry McGee<\/a><\/strong> at San Francisco\u2019s Gallery 16<\/a><\/strong> in 1997. Her enigmatic use of language, rendered in vernacular typography, may in this instance appear to some to imply destruction or violence. But the name instead refers to Matokie Slaughter<\/a><\/strong>, a claw hammer banjo player who was one of her greatest inspirations and from whom her most commonly used tag \u2013 Meta \u2013 was derived. In the same room hangs an imagined portrait<\/a><\/strong> of the Appalachian musician, who takes on an almost mythical presence within Kilgallen\u2019s \u0153uvre.<\/p>\n Kilgallen\u2019s work undoubtedly owes something to painters such as Joan Brown<\/a><\/strong>, Barbara Stauffacher Solomon<\/a><\/strong> and Las Mujeres Muralistas<\/a><\/strong>. But her most profound influences were far more tangential and were made up of a cast of women that, in her own words, \u201cdo small things but somehow hit me in my heart\u201d. Elsewhere she stated: \u201cI like to change the emphasis on what\u2019s important when looking at women\u201d. These everyday but exceptional women feature throughout the exhibition: either side of the word \u2018Low\u2019 sit twin portraits<\/a><\/strong> of Fanny Durack<\/a><\/strong> who, wearing a woollen swimsuit, was the first women to win an Olympic swimming gold medal; Algia Mae Hinton<\/a><\/strong> was a Piedmont blues singer, guitarist and buck dancer who supported herself and her seven children with her music; a portrait of surf pioneer Linda Benson<\/a><\/strong> is situated below the word \u2018Backside<\/a><\/strong> which continues her use of gnomic words and, in this instance, refers to her trademark board-riding style.<\/p>\n Surfing was a particular passion for Kilgallen and features extensively throughout the exhibition. \u2018Cardiff<\/a><\/strong>\u2018, \u2018Dulce<\/a><\/strong>\u2018 and \u2018Linda Mar<\/a><\/strong>\u2018 refer to the names of beaches and the latter was her local surf spot which sits just below the hills where she married McGee; the exhibition includes a monochrome painting<\/a><\/strong> which was used for their wedding invitations showing them riding a longboard together. These names have been clustered together<\/a><\/strong> with images ranging from a bedridden man and an obstinate horse to a soign\u00e9e mother and the Adidas Superstars that Kilgallen habitually wore. The interplay of these pictures and words creates an infinite number of stories within the viewer\u2019s mind; as she herself states \u201cMy work is narrative, but it doesn\u2019t have a definitive narrative\u201d.<\/p>\n The exhibition\u2019s title is derived from a quote from an Art:21 documentary<\/a><\/strong> given as she was preparing her first institutional solo show at the Hammer Museum<\/a><\/strong> in 2000: \u201cI spend a lot of time going over the line and over the line and trying to make it straight. I\u2019ll never be able to make it straight. From a distance that might look straight, but when you get close up, you can only see the line waver. And I think that\u2019s where the beauty is.\u201d Indeed, her love of uniqueness, imperfection and transience extended to sandpapering over her works to accentuate the wabi-sabi aesthetic. A young Kilgallen spent family summers in Western Maryland which imbued her with a deep appreciation for Amish craftsmanship and the self-reliance that comes with those skills. This is evident throughout her work, as is her interest in Indian art which manifests through a consciously flat application of paint and the use of soft green and bright red house paint reclaimed from the \u2018oops\u2019 pile of her local Kelly-Moore store.\u00a0<\/p>\n Kilgallen received a BFA in printmaking from Colorado College<\/a><\/strong> and her work took on the economy and elegance of Ukiyo-e printmaking which she encountered during her studies. Her printing credentials were furthered by a two-year letterpress internship which she started when she first moved to the Bay Area in 1989, so it was a natural progression within her practice when she produced a series of aquatint prints at Paulson Press<\/a><\/strong> which have been brought together for this exhibition. However, it was her next job working as a \u2018page\u2019 restoring and repairing books under the tutelage of Dan Flanagan at the San Francisco Public Library<\/a><\/strong> which helped to shape her work to an even greater extent: images are painted on the end sheets of books removed and rejected during the preservation process; paintings have been stitched together<\/a><\/strong> like the spine of a book; early letterforms<\/a><\/strong> have been influenced by the typography encountered in the 16th century botany reference books she regularly worked on. Indeed, this lettering even influenced her paintings of trees<\/a> <\/a><\/strong>which all possess distinctly serif-like bases to their trunks. The tree paintings are some of the most numerous in the exhibition and they reflect both her background and her general disposition; as Kilgallen noted \u201cI was a nature kid\u2026I used to just sit in the treehouse for hours\u201d.\u00a0<\/p>\n The exhibition reaches its crescendo with three monumental works in the final room. Adjacent to a 26\u2019 long unstretched canvas which now resides in the permanent collection of the San Francisco Museum of Modern Art<\/a><\/strong>, hangs \u2018Money to Loan<\/a><\/em><\/strong>\u2018 which combines typographic, figurative and decorative elements to create a folkloric urban landscape. In many ways, it is a love letter to the hand painted signs around the Mission District with multiple references to the neighbourhood\u2019s Chicana heritage and a pawnbrokers<\/a><\/strong> which at the time was located on 6th Street. \u201cI like things that are handmade,\u201d the artist explains in respect of the storefront lettering \u2018in that they did it themselves. That\u2019s what I find beautiful\u2019.\u00a0<\/p>\n Main Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\n In the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\n Photo credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n
![Slaughter mural<\/a><\/strong> which Kilgallen painted with her husband Barry McGee<\/a><\/strong> at San Francisco\u2019s Gallery 16<\/a><\/strong> in 1997. Her enigmatic use of language, rendered in vernacular typography, may in this instance appear to some to imply destruction or violence. But the name instead refers to Matokie Slaughter<\/a><\/strong>, a claw hammer banjo player who was one of her greatest inspirations and from whom her most commonly used tag \u2013 Meta \u2013 was derived. In the same room hangs an imagined portrait<\/a><\/strong> of the Appalachian musician, who takes on an almost mythical presence within Kilgallen\u2019s \u0153uvre.<\/p>\nKilgallen\u2019s work undoubtedly owes something to painters such as Joan Brown<\/a><\/strong>, Barbara Stauffacher Solomon<\/a><\/strong> and Las Mujeres Muralistas<\/a><\/strong>. But her most profound influences were far more tangential and were made up of a cast of women that, in her own words, \u201cdo small things but somehow hit me in my heart\u201d. Elsewhere she stated: \u201cI like to change the emphasis on what\u2019s important when looking at women\u201d. These everyday but exceptional women feature throughout the exhibition: either side of the word \u2018Low\u2019 sit twin portraits<\/a><\/strong> of Fanny Durack<\/a><\/strong> who, wearing a woollen swimsuit, was the first women to win an Olympic swimming gold medal; Algia Mae Hinton<\/a><\/strong> was a Piedmont blues singer, guitarist and buck dancer who supported herself and her seven children with her music; a portrait of surf pioneer Linda Benson<\/a><\/strong> is situated below the word \u2018Backside<\/a><\/strong> which continues her use of gnomic words and, in this instance, refers to her trademark board-riding style.<\/p>\nSurfing was a particular passion for Kilgallen and features extensively throughout the exhibition. \u2018Cardiff<\/a><\/strong>\u2018, \u2018Dulce<\/a><\/strong>\u2018 and \u2018Linda Mar<\/a><\/strong>\u2018 refer to the names of beaches and the latter was her local surf spot which sits just below the hills where she married McGee; the exhibition includes a monochrome painting<\/a><\/strong> which was used for their wedding invitations showing them riding a longboard together. These names have been clustered together<\/a><\/strong> with images ranging from a bedridden man and an obstinate horse to a soign\u00e9e mother and the Adidas Superstars that Kilgallen habitually wore. The interplay of these pictures and words creates an infinite number of stories within the viewer\u2019s mind; as she herself states \u201cMy work is narrative, but it doesn\u2019t have a definitive narrative\u201d.<\/p>\nThe exhibition\u2019s title is derived from a quote from an Art:21 documentary<\/a><\/strong> given as she was preparing her first institutional solo show at the Hammer Museum<\/a><\/strong> in 2000: \u201cI spend a lot of time going over the line and over the line and trying to make it straight. I\u2019ll never be able to make it straight. From a distance that might look straight, but when you get close up, you can only see the line waver. And I think that\u2019s where the beauty is.\u201d Indeed, her love of uniqueness, imperfection and transience extended to sandpapering over her works to accentuate the wabi-sabi aesthetic. A young Kilgallen spent family summers in Western Maryland which imbued her with a deep appreciation for Amish craftsmanship and the self-reliance that comes with those skills. This is evident throughout her work, as is her interest in Indian art which manifests through a consciously flat application of paint and the use of soft green and bright red house paint reclaimed from the \u2018oops\u2019 pile of her local Kelly-Moore store.\u00a0<\/p>\nKilgallen received a BFA in printmaking from Colorado College<\/a><\/strong> and her work took on the economy and elegance of Ukiyo-e printmaking which she encountered during her studies. Her printing credentials were furthered by a two-year letterpress internship which she started when she first moved to the Bay Area in 1989, so it was a natural progression within her practice when she produced a series of aquatint prints at Paulson Press<\/a><\/strong> which have been brought together for this exhibition. However, it was her next job working as a \u2018page\u2019 restoring and repairing books under the tutelage of Dan Flanagan at the San Francisco Public Library<\/a><\/strong> which helped to shape her work to an even greater extent: images are painted on the end sheets of books removed and rejected during the preservation process; paintings have been stitched together<\/a><\/strong> like the spine of a book; early letterforms<\/a><\/strong> have been influenced by the typography encountered in the 16th century botany reference books she regularly worked on. Indeed, this lettering even influenced her paintings of trees<\/a> <\/a><\/strong>which all possess distinctly serif-like bases to their trunks. The tree paintings are some of the most numerous in the exhibition and they reflect both her background and her general disposition; as Kilgallen noted \u201cI was a nature kid\u2026I used to just sit in the treehouse for hours\u201d.\u00a0<\/p>\nThe exhibition reaches its crescendo with three monumental works in the final room. Adjacent to a 26\u2019 long unstretched canvas which now resides in the permanent collection of the San Francisco Museum of Modern Art<\/a><\/strong>, hangs \u2018Money to Loan<\/a><\/em><\/strong>\u2018 which combines typographic, figurative and decorative elements to create a folkloric urban landscape. In many ways, it is a love letter to the hand painted signs around the Mission District with multiple references to the neighbourhood\u2019s Chicana heritage and a pawnbrokers<\/a><\/strong> which at the time was located on 6th Street. \u201cI like things that are handmade,\u201d the artist explains in respect of the storefront lettering \u2018in that they did it themselves. That\u2019s what I find beautiful\u2019.\u00a0<\/p>\nMain Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/01-Slaughter.jpg\"){kind=link}
![imagined portrait<\/a><\/strong> of the Appalachian musician, who takes on an almost mythical presence within Kilgallen\u2019s \u0153uvre.<\/p>\nKilgallen\u2019s work undoubtedly owes something to painters such as Joan Brown<\/a><\/strong>, Barbara Stauffacher Solomon<\/a><\/strong> and Las Mujeres Muralistas<\/a><\/strong>. But her most profound influences were far more tangential and were made up of a cast of women that, in her own words, \u201cdo small things but somehow hit me in my heart\u201d. Elsewhere she stated: \u201cI like to change the emphasis on what\u2019s important when looking at women\u201d. These everyday but exceptional women feature throughout the exhibition: either side of the word \u2018Low\u2019 sit twin portraits<\/a><\/strong> of Fanny Durack<\/a><\/strong> who, wearing a woollen swimsuit, was the first women to win an Olympic swimming gold medal; Algia Mae Hinton<\/a><\/strong> was a Piedmont blues singer, guitarist and buck dancer who supported herself and her seven children with her music; a portrait of surf pioneer Linda Benson<\/a><\/strong> is situated below the word \u2018Backside<\/a><\/strong> which continues her use of gnomic words and, in this instance, refers to her trademark board-riding style.<\/p>\nSurfing was a particular passion for Kilgallen and features extensively throughout the exhibition. \u2018Cardiff<\/a><\/strong>\u2018, \u2018Dulce<\/a><\/strong>\u2018 and \u2018Linda Mar<\/a><\/strong>\u2018 refer to the names of beaches and the latter was her local surf spot which sits just below the hills where she married McGee; the exhibition includes a monochrome painting<\/a><\/strong> which was used for their wedding invitations showing them riding a longboard together. These names have been clustered together<\/a><\/strong> with images ranging from a bedridden man and an obstinate horse to a soign\u00e9e mother and the Adidas Superstars that Kilgallen habitually wore. The interplay of these pictures and words creates an infinite number of stories within the viewer\u2019s mind; as she herself states \u201cMy work is narrative, but it doesn\u2019t have a definitive narrative\u201d.<\/p>\nThe exhibition\u2019s title is derived from a quote from an Art:21 documentary<\/a><\/strong> given as she was preparing her first institutional solo show at the Hammer Museum<\/a><\/strong> in 2000: \u201cI spend a lot of time going over the line and over the line and trying to make it straight. I\u2019ll never be able to make it straight. From a distance that might look straight, but when you get close up, you can only see the line waver. And I think that\u2019s where the beauty is.\u201d Indeed, her love of uniqueness, imperfection and transience extended to sandpapering over her works to accentuate the wabi-sabi aesthetic. A young Kilgallen spent family summers in Western Maryland which imbued her with a deep appreciation for Amish craftsmanship and the self-reliance that comes with those skills. This is evident throughout her work, as is her interest in Indian art which manifests through a consciously flat application of paint and the use of soft green and bright red house paint reclaimed from the \u2018oops\u2019 pile of her local Kelly-Moore store.\u00a0<\/p>\nKilgallen received a BFA in printmaking from Colorado College<\/a><\/strong> and her work took on the economy and elegance of Ukiyo-e printmaking which she encountered during her studies. Her printing credentials were furthered by a two-year letterpress internship which she started when she first moved to the Bay Area in 1989, so it was a natural progression within her practice when she produced a series of aquatint prints at Paulson Press<\/a><\/strong> which have been brought together for this exhibition. However, it was her next job working as a \u2018page\u2019 restoring and repairing books under the tutelage of Dan Flanagan at the San Francisco Public Library<\/a><\/strong> which helped to shape her work to an even greater extent: images are painted on the end sheets of books removed and rejected during the preservation process; paintings have been stitched together<\/a><\/strong> like the spine of a book; early letterforms<\/a><\/strong> have been influenced by the typography encountered in the 16th century botany reference books she regularly worked on. Indeed, this lettering even influenced her paintings of trees<\/a> <\/a><\/strong>which all possess distinctly serif-like bases to their trunks. The tree paintings are some of the most numerous in the exhibition and they reflect both her background and her general disposition; as Kilgallen noted \u201cI was a nature kid\u2026I used to just sit in the treehouse for hours\u201d.\u00a0<\/p>\nThe exhibition reaches its crescendo with three monumental works in the final room. Adjacent to a 26\u2019 long unstretched canvas which now resides in the permanent collection of the San Francisco Museum of Modern Art<\/a><\/strong>, hangs \u2018Money to Loan<\/a><\/em><\/strong>\u2018 which combines typographic, figurative and decorative elements to create a folkloric urban landscape. In many ways, it is a love letter to the hand painted signs around the Mission District with multiple references to the neighbourhood\u2019s Chicana heritage and a pawnbrokers<\/a><\/strong> which at the time was located on 6th Street. \u201cI like things that are handmade,\u201d the artist explains in respect of the storefront lettering \u2018in that they did it themselves. That\u2019s what I find beautiful\u2019.\u00a0<\/p>\nMain Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/04-Matokie-Slaughter.jpg\"){kind=link}
![twin portraits<\/a><\/strong> of Fanny Durack<\/a><\/strong> who, wearing a woollen swimsuit, was the first women to win an Olympic swimming gold medal; Algia Mae Hinton<\/a><\/strong> was a Piedmont blues singer, guitarist and buck dancer who supported herself and her seven children with her music; a portrait of surf pioneer Linda Benson<\/a><\/strong> is situated below the word \u2018Backside<\/a><\/strong> which continues her use of gnomic words and, in this instance, refers to her trademark board-riding style.<\/p>\nSurfing was a particular passion for Kilgallen and features extensively throughout the exhibition. \u2018Cardiff<\/a><\/strong>\u2018, \u2018Dulce<\/a><\/strong>\u2018 and \u2018Linda Mar<\/a><\/strong>\u2018 refer to the names of beaches and the latter was her local surf spot which sits just below the hills where she married McGee; the exhibition includes a monochrome painting<\/a><\/strong> which was used for their wedding invitations showing them riding a longboard together. These names have been clustered together<\/a><\/strong> with images ranging from a bedridden man and an obstinate horse to a soign\u00e9e mother and the Adidas Superstars that Kilgallen habitually wore. The interplay of these pictures and words creates an infinite number of stories within the viewer\u2019s mind; as she herself states \u201cMy work is narrative, but it doesn\u2019t have a definitive narrative\u201d.<\/p>\nThe exhibition\u2019s title is derived from a quote from an Art:21 documentary<\/a><\/strong> given as she was preparing her first institutional solo show at the Hammer Museum<\/a><\/strong> in 2000: \u201cI spend a lot of time going over the line and over the line and trying to make it straight. I\u2019ll never be able to make it straight. From a distance that might look straight, but when you get close up, you can only see the line waver. And I think that\u2019s where the beauty is.\u201d Indeed, her love of uniqueness, imperfection and transience extended to sandpapering over her works to accentuate the wabi-sabi aesthetic. A young Kilgallen spent family summers in Western Maryland which imbued her with a deep appreciation for Amish craftsmanship and the self-reliance that comes with those skills. This is evident throughout her work, as is her interest in Indian art which manifests through a consciously flat application of paint and the use of soft green and bright red house paint reclaimed from the \u2018oops\u2019 pile of her local Kelly-Moore store.\u00a0<\/p>\nKilgallen received a BFA in printmaking from Colorado College<\/a><\/strong> and her work took on the economy and elegance of Ukiyo-e printmaking which she encountered during her studies. Her printing credentials were furthered by a two-year letterpress internship which she started when she first moved to the Bay Area in 1989, so it was a natural progression within her practice when she produced a series of aquatint prints at Paulson Press<\/a><\/strong> which have been brought together for this exhibition. However, it was her next job working as a \u2018page\u2019 restoring and repairing books under the tutelage of Dan Flanagan at the San Francisco Public Library<\/a><\/strong> which helped to shape her work to an even greater extent: images are painted on the end sheets of books removed and rejected during the preservation process; paintings have been stitched together<\/a><\/strong> like the spine of a book; early letterforms<\/a><\/strong> have been influenced by the typography encountered in the 16th century botany reference books she regularly worked on. Indeed, this lettering even influenced her paintings of trees<\/a> <\/a><\/strong>which all possess distinctly serif-like bases to their trunks. The tree paintings are some of the most numerous in the exhibition and they reflect both her background and her general disposition; as Kilgallen noted \u201cI was a nature kid\u2026I used to just sit in the treehouse for hours\u201d.\u00a0<\/p>\nThe exhibition reaches its crescendo with three monumental works in the final room. Adjacent to a 26\u2019 long unstretched canvas which now resides in the permanent collection of the San Francisco Museum of Modern Art<\/a><\/strong>, hangs \u2018Money to Loan<\/a><\/em><\/strong>\u2018 which combines typographic, figurative and decorative elements to create a folkloric urban landscape. In many ways, it is a love letter to the hand painted signs around the Mission District with multiple references to the neighbourhood\u2019s Chicana heritage and a pawnbrokers<\/a><\/strong> which at the time was located on 6th Street. \u201cI like things that are handmade,\u201d the artist explains in respect of the storefront lettering \u2018in that they did it themselves. That\u2019s what I find beautiful\u2019.\u00a0<\/p>\nMain Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/08-Low.jpg\"){kind=link}
![Backside<\/a><\/strong> which continues her use of gnomic words and, in this instance, refers to her trademark board-riding style.<\/p>\nSurfing was a particular passion for Kilgallen and features extensively throughout the exhibition. \u2018Cardiff<\/a><\/strong>\u2018, \u2018Dulce<\/a><\/strong>\u2018 and \u2018Linda Mar<\/a><\/strong>\u2018 refer to the names of beaches and the latter was her local surf spot which sits just below the hills where she married McGee; the exhibition includes a monochrome painting<\/a><\/strong> which was used for their wedding invitations showing them riding a longboard together. These names have been clustered together<\/a><\/strong> with images ranging from a bedridden man and an obstinate horse to a soign\u00e9e mother and the Adidas Superstars that Kilgallen habitually wore. The interplay of these pictures and words creates an infinite number of stories within the viewer\u2019s mind; as she herself states \u201cMy work is narrative, but it doesn\u2019t have a definitive narrative\u201d.<\/p>\nThe exhibition\u2019s title is derived from a quote from an Art:21 documentary<\/a><\/strong> given as she was preparing her first institutional solo show at the Hammer Museum<\/a><\/strong> in 2000: \u201cI spend a lot of time going over the line and over the line and trying to make it straight. I\u2019ll never be able to make it straight. From a distance that might look straight, but when you get close up, you can only see the line waver. And I think that\u2019s where the beauty is.\u201d Indeed, her love of uniqueness, imperfection and transience extended to sandpapering over her works to accentuate the wabi-sabi aesthetic. A young Kilgallen spent family summers in Western Maryland which imbued her with a deep appreciation for Amish craftsmanship and the self-reliance that comes with those skills. This is evident throughout her work, as is her interest in Indian art which manifests through a consciously flat application of paint and the use of soft green and bright red house paint reclaimed from the \u2018oops\u2019 pile of her local Kelly-Moore store.\u00a0<\/p>\nKilgallen received a BFA in printmaking from Colorado College<\/a><\/strong> and her work took on the economy and elegance of Ukiyo-e printmaking which she encountered during her studies. Her printing credentials were furthered by a two-year letterpress internship which she started when she first moved to the Bay Area in 1989, so it was a natural progression within her practice when she produced a series of aquatint prints at Paulson Press<\/a><\/strong> which have been brought together for this exhibition. However, it was her next job working as a \u2018page\u2019 restoring and repairing books under the tutelage of Dan Flanagan at the San Francisco Public Library<\/a><\/strong> which helped to shape her work to an even greater extent: images are painted on the end sheets of books removed and rejected during the preservation process; paintings have been stitched together<\/a><\/strong> like the spine of a book; early letterforms<\/a><\/strong> have been influenced by the typography encountered in the 16th century botany reference books she regularly worked on. Indeed, this lettering even influenced her paintings of trees<\/a> <\/a><\/strong>which all possess distinctly serif-like bases to their trunks. The tree paintings are some of the most numerous in the exhibition and they reflect both her background and her general disposition; as Kilgallen noted \u201cI was a nature kid\u2026I used to just sit in the treehouse for hours\u201d.\u00a0<\/p>\nThe exhibition reaches its crescendo with three monumental works in the final room. Adjacent to a 26\u2019 long unstretched canvas which now resides in the permanent collection of the San Francisco Museum of Modern Art<\/a><\/strong>, hangs \u2018Money to Loan<\/a><\/em><\/strong>\u2018 which combines typographic, figurative and decorative elements to create a folkloric urban landscape. In many ways, it is a love letter to the hand painted signs around the Mission District with multiple references to the neighbourhood\u2019s Chicana heritage and a pawnbrokers<\/a><\/strong> which at the time was located on 6th Street. \u201cI like things that are handmade,\u201d the artist explains in respect of the storefront lettering \u2018in that they did it themselves. That\u2019s what I find beautiful\u2019.\u00a0<\/p>\nMain Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/94-Linda-Benson.jpg\"){kind=link}
![Cardiff<\/a><\/strong>\u2018, \u2018Dulce<\/a><\/strong>\u2018 and \u2018Linda Mar<\/a><\/strong>\u2018 refer to the names of beaches and the latter was her local surf spot which sits just below the hills where she married McGee; the exhibition includes a monochrome painting<\/a><\/strong> which was used for their wedding invitations showing them riding a longboard together. These names have been clustered together<\/a><\/strong> with images ranging from a bedridden man and an obstinate horse to a soign\u00e9e mother and the Adidas Superstars that Kilgallen habitually wore. The interplay of these pictures and words creates an infinite number of stories within the viewer\u2019s mind; as she herself states \u201cMy work is narrative, but it doesn\u2019t have a definitive narrative\u201d.<\/p>\nThe exhibition\u2019s title is derived from a quote from an Art:21 documentary<\/a><\/strong> given as she was preparing her first institutional solo show at the Hammer Museum<\/a><\/strong> in 2000: \u201cI spend a lot of time going over the line and over the line and trying to make it straight. I\u2019ll never be able to make it straight. From a distance that might look straight, but when you get close up, you can only see the line waver. And I think that\u2019s where the beauty is.\u201d Indeed, her love of uniqueness, imperfection and transience extended to sandpapering over her works to accentuate the wabi-sabi aesthetic. A young Kilgallen spent family summers in Western Maryland which imbued her with a deep appreciation for Amish craftsmanship and the self-reliance that comes with those skills. This is evident throughout her work, as is her interest in Indian art which manifests through a consciously flat application of paint and the use of soft green and bright red house paint reclaimed from the \u2018oops\u2019 pile of her local Kelly-Moore store.\u00a0<\/p>\nKilgallen received a BFA in printmaking from Colorado College<\/a><\/strong> and her work took on the economy and elegance of Ukiyo-e printmaking which she encountered during her studies. Her printing credentials were furthered by a two-year letterpress internship which she started when she first moved to the Bay Area in 1989, so it was a natural progression within her practice when she produced a series of aquatint prints at Paulson Press<\/a><\/strong> which have been brought together for this exhibition. However, it was her next job working as a \u2018page\u2019 restoring and repairing books under the tutelage of Dan Flanagan at the San Francisco Public Library<\/a><\/strong> which helped to shape her work to an even greater extent: images are painted on the end sheets of books removed and rejected during the preservation process; paintings have been stitched together<\/a><\/strong> like the spine of a book; early letterforms<\/a><\/strong> have been influenced by the typography encountered in the 16th century botany reference books she regularly worked on. Indeed, this lettering even influenced her paintings of trees<\/a> <\/a><\/strong>which all possess distinctly serif-like bases to their trunks. The tree paintings are some of the most numerous in the exhibition and they reflect both her background and her general disposition; as Kilgallen noted \u201cI was a nature kid\u2026I used to just sit in the treehouse for hours\u201d.\u00a0<\/p>\nThe exhibition reaches its crescendo with three monumental works in the final room. Adjacent to a 26\u2019 long unstretched canvas which now resides in the permanent collection of the San Francisco Museum of Modern Art<\/a><\/strong>, hangs \u2018Money to Loan<\/a><\/em><\/strong>\u2018 which combines typographic, figurative and decorative elements to create a folkloric urban landscape. In many ways, it is a love letter to the hand painted signs around the Mission District with multiple references to the neighbourhood\u2019s Chicana heritage and a pawnbrokers<\/a><\/strong> which at the time was located on 6th Street. \u201cI like things that are handmade,\u201d the artist explains in respect of the storefront lettering \u2018in that they did it themselves. That\u2019s what I find beautiful\u2019.\u00a0<\/p>\nMain Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/91-Cardiff.jpg\"){kind=link}
![Dulce<\/a><\/strong>\u2018 and \u2018Linda Mar<\/a><\/strong>\u2018 refer to the names of beaches and the latter was her local surf spot which sits just below the hills where she married McGee; the exhibition includes a monochrome painting<\/a><\/strong> which was used for their wedding invitations showing them riding a longboard together. These names have been clustered together<\/a><\/strong> with images ranging from a bedridden man and an obstinate horse to a soign\u00e9e mother and the Adidas Superstars that Kilgallen habitually wore. The interplay of these pictures and words creates an infinite number of stories within the viewer\u2019s mind; as she herself states \u201cMy work is narrative, but it doesn\u2019t have a definitive narrative\u201d.<\/p>\nThe exhibition\u2019s title is derived from a quote from an Art:21 documentary<\/a><\/strong> given as she was preparing her first institutional solo show at the Hammer Museum<\/a><\/strong> in 2000: \u201cI spend a lot of time going over the line and over the line and trying to make it straight. I\u2019ll never be able to make it straight. From a distance that might look straight, but when you get close up, you can only see the line waver. And I think that\u2019s where the beauty is.\u201d Indeed, her love of uniqueness, imperfection and transience extended to sandpapering over her works to accentuate the wabi-sabi aesthetic. A young Kilgallen spent family summers in Western Maryland which imbued her with a deep appreciation for Amish craftsmanship and the self-reliance that comes with those skills. This is evident throughout her work, as is her interest in Indian art which manifests through a consciously flat application of paint and the use of soft green and bright red house paint reclaimed from the \u2018oops\u2019 pile of her local Kelly-Moore store.\u00a0<\/p>\nKilgallen received a BFA in printmaking from Colorado College<\/a><\/strong> and her work took on the economy and elegance of Ukiyo-e printmaking which she encountered during her studies. Her printing credentials were furthered by a two-year letterpress internship which she started when she first moved to the Bay Area in 1989, so it was a natural progression within her practice when she produced a series of aquatint prints at Paulson Press<\/a><\/strong> which have been brought together for this exhibition. However, it was her next job working as a \u2018page\u2019 restoring and repairing books under the tutelage of Dan Flanagan at the San Francisco Public Library<\/a><\/strong> which helped to shape her work to an even greater extent: images are painted on the end sheets of books removed and rejected during the preservation process; paintings have been stitched together<\/a><\/strong> like the spine of a book; early letterforms<\/a><\/strong> have been influenced by the typography encountered in the 16th century botany reference books she regularly worked on. Indeed, this lettering even influenced her paintings of trees<\/a> <\/a><\/strong>which all possess distinctly serif-like bases to their trunks. The tree paintings are some of the most numerous in the exhibition and they reflect both her background and her general disposition; as Kilgallen noted \u201cI was a nature kid\u2026I used to just sit in the treehouse for hours\u201d.\u00a0<\/p>\nThe exhibition reaches its crescendo with three monumental works in the final room. Adjacent to a 26\u2019 long unstretched canvas which now resides in the permanent collection of the San Francisco Museum of Modern Art<\/a><\/strong>, hangs \u2018Money to Loan<\/a><\/em><\/strong>\u2018 which combines typographic, figurative and decorative elements to create a folkloric urban landscape. In many ways, it is a love letter to the hand painted signs around the Mission District with multiple references to the neighbourhood\u2019s Chicana heritage and a pawnbrokers<\/a><\/strong> which at the time was located on 6th Street. \u201cI like things that are handmade,\u201d the artist explains in respect of the storefront lettering \u2018in that they did it themselves. That\u2019s what I find beautiful\u2019.\u00a0<\/p>\nMain Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/90-Dulce-Creek.jpg\"){kind=link}
![Linda Mar<\/a><\/strong>\u2018 refer to the names of beaches and the latter was her local surf spot which sits just below the hills where she married McGee; the exhibition includes a monochrome painting<\/a><\/strong> which was used for their wedding invitations showing them riding a longboard together. These names have been clustered together<\/a><\/strong> with images ranging from a bedridden man and an obstinate horse to a soign\u00e9e mother and the Adidas Superstars that Kilgallen habitually wore. The interplay of these pictures and words creates an infinite number of stories within the viewer\u2019s mind; as she herself states \u201cMy work is narrative, but it doesn\u2019t have a definitive narrative\u201d.<\/p>\nThe exhibition\u2019s title is derived from a quote from an Art:21 documentary<\/a><\/strong> given as she was preparing her first institutional solo show at the Hammer Museum<\/a><\/strong> in 2000: \u201cI spend a lot of time going over the line and over the line and trying to make it straight. I\u2019ll never be able to make it straight. From a distance that might look straight, but when you get close up, you can only see the line waver. And I think that\u2019s where the beauty is.\u201d Indeed, her love of uniqueness, imperfection and transience extended to sandpapering over her works to accentuate the wabi-sabi aesthetic. A young Kilgallen spent family summers in Western Maryland which imbued her with a deep appreciation for Amish craftsmanship and the self-reliance that comes with those skills. This is evident throughout her work, as is her interest in Indian art which manifests through a consciously flat application of paint and the use of soft green and bright red house paint reclaimed from the \u2018oops\u2019 pile of her local Kelly-Moore store.\u00a0<\/p>\nKilgallen received a BFA in printmaking from Colorado College<\/a><\/strong> and her work took on the economy and elegance of Ukiyo-e printmaking which she encountered during her studies. Her printing credentials were furthered by a two-year letterpress internship which she started when she first moved to the Bay Area in 1989, so it was a natural progression within her practice when she produced a series of aquatint prints at Paulson Press<\/a><\/strong> which have been brought together for this exhibition. However, it was her next job working as a \u2018page\u2019 restoring and repairing books under the tutelage of Dan Flanagan at the San Francisco Public Library<\/a><\/strong> which helped to shape her work to an even greater extent: images are painted on the end sheets of books removed and rejected during the preservation process; paintings have been stitched together<\/a><\/strong> like the spine of a book; early letterforms<\/a><\/strong> have been influenced by the typography encountered in the 16th century botany reference books she regularly worked on. Indeed, this lettering even influenced her paintings of trees<\/a> <\/a><\/strong>which all possess distinctly serif-like bases to their trunks. The tree paintings are some of the most numerous in the exhibition and they reflect both her background and her general disposition; as Kilgallen noted \u201cI was a nature kid\u2026I used to just sit in the treehouse for hours\u201d.\u00a0<\/p>\nThe exhibition reaches its crescendo with three monumental works in the final room. Adjacent to a 26\u2019 long unstretched canvas which now resides in the permanent collection of the San Francisco Museum of Modern Art<\/a><\/strong>, hangs \u2018Money to Loan<\/a><\/em><\/strong>\u2018 which combines typographic, figurative and decorative elements to create a folkloric urban landscape. In many ways, it is a love letter to the hand painted signs around the Mission District with multiple references to the neighbourhood\u2019s Chicana heritage and a pawnbrokers<\/a><\/strong> which at the time was located on 6th Street. \u201cI like things that are handmade,\u201d the artist explains in respect of the storefront lettering \u2018in that they did it themselves. That\u2019s what I find beautiful\u2019.\u00a0<\/p>\nMain Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/95-Linda-Mar.jpg\"){kind=link}
![monochrome painting<\/a><\/strong> which was used for their wedding invitations showing them riding a longboard together. These names have been clustered together<\/a><\/strong> with images ranging from a bedridden man and an obstinate horse to a soign\u00e9e mother and the Adidas Superstars that Kilgallen habitually wore. The interplay of these pictures and words creates an infinite number of stories within the viewer\u2019s mind; as she herself states \u201cMy work is narrative, but it doesn\u2019t have a definitive narrative\u201d.<\/p>\nThe exhibition\u2019s title is derived from a quote from an Art:21 documentary<\/a><\/strong> given as she was preparing her first institutional solo show at the Hammer Museum<\/a><\/strong> in 2000: \u201cI spend a lot of time going over the line and over the line and trying to make it straight. I\u2019ll never be able to make it straight. From a distance that might look straight, but when you get close up, you can only see the line waver. And I think that\u2019s where the beauty is.\u201d Indeed, her love of uniqueness, imperfection and transience extended to sandpapering over her works to accentuate the wabi-sabi aesthetic. A young Kilgallen spent family summers in Western Maryland which imbued her with a deep appreciation for Amish craftsmanship and the self-reliance that comes with those skills. This is evident throughout her work, as is her interest in Indian art which manifests through a consciously flat application of paint and the use of soft green and bright red house paint reclaimed from the \u2018oops\u2019 pile of her local Kelly-Moore store.\u00a0<\/p>\nKilgallen received a BFA in printmaking from Colorado College<\/a><\/strong> and her work took on the economy and elegance of Ukiyo-e printmaking which she encountered during her studies. Her printing credentials were furthered by a two-year letterpress internship which she started when she first moved to the Bay Area in 1989, so it was a natural progression within her practice when she produced a series of aquatint prints at Paulson Press<\/a><\/strong> which have been brought together for this exhibition. However, it was her next job working as a \u2018page\u2019 restoring and repairing books under the tutelage of Dan Flanagan at the San Francisco Public Library<\/a><\/strong> which helped to shape her work to an even greater extent: images are painted on the end sheets of books removed and rejected during the preservation process; paintings have been stitched together<\/a><\/strong> like the spine of a book; early letterforms<\/a><\/strong> have been influenced by the typography encountered in the 16th century botany reference books she regularly worked on. Indeed, this lettering even influenced her paintings of trees<\/a> <\/a><\/strong>which all possess distinctly serif-like bases to their trunks. The tree paintings are some of the most numerous in the exhibition and they reflect both her background and her general disposition; as Kilgallen noted \u201cI was a nature kid\u2026I used to just sit in the treehouse for hours\u201d.\u00a0<\/p>\nThe exhibition reaches its crescendo with three monumental works in the final room. Adjacent to a 26\u2019 long unstretched canvas which now resides in the permanent collection of the San Francisco Museum of Modern Art<\/a><\/strong>, hangs \u2018Money to Loan<\/a><\/em><\/strong>\u2018 which combines typographic, figurative and decorative elements to create a folkloric urban landscape. In many ways, it is a love letter to the hand painted signs around the Mission District with multiple references to the neighbourhood\u2019s Chicana heritage and a pawnbrokers<\/a><\/strong> which at the time was located on 6th Street. \u201cI like things that are handmade,\u201d the artist explains in respect of the storefront lettering \u2018in that they did it themselves. That\u2019s what I find beautiful\u2019.\u00a0<\/p>\nMain Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/22-Barry-and-Margrate-Surfing.jpg\"){kind=link}
![clustered together<\/a><\/strong> with images ranging from a bedridden man and an obstinate horse to a soign\u00e9e mother and the Adidas Superstars that Kilgallen habitually wore. The interplay of these pictures and words creates an infinite number of stories within the viewer\u2019s mind; as she herself states \u201cMy work is narrative, but it doesn\u2019t have a definitive narrative\u201d.<\/p>\nThe exhibition\u2019s title is derived from a quote from an Art:21 documentary<\/a><\/strong> given as she was preparing her first institutional solo show at the Hammer Museum<\/a><\/strong> in 2000: \u201cI spend a lot of time going over the line and over the line and trying to make it straight. I\u2019ll never be able to make it straight. From a distance that might look straight, but when you get close up, you can only see the line waver. And I think that\u2019s where the beauty is.\u201d Indeed, her love of uniqueness, imperfection and transience extended to sandpapering over her works to accentuate the wabi-sabi aesthetic. A young Kilgallen spent family summers in Western Maryland which imbued her with a deep appreciation for Amish craftsmanship and the self-reliance that comes with those skills. This is evident throughout her work, as is her interest in Indian art which manifests through a consciously flat application of paint and the use of soft green and bright red house paint reclaimed from the \u2018oops\u2019 pile of her local Kelly-Moore store.\u00a0<\/p>\nKilgallen received a BFA in printmaking from Colorado College<\/a><\/strong> and her work took on the economy and elegance of Ukiyo-e printmaking which she encountered during her studies. Her printing credentials were furthered by a two-year letterpress internship which she started when she first moved to the Bay Area in 1989, so it was a natural progression within her practice when she produced a series of aquatint prints at Paulson Press<\/a><\/strong> which have been brought together for this exhibition. However, it was her next job working as a \u2018page\u2019 restoring and repairing books under the tutelage of Dan Flanagan at the San Francisco Public Library<\/a><\/strong> which helped to shape her work to an even greater extent: images are painted on the end sheets of books removed and rejected during the preservation process; paintings have been stitched together<\/a><\/strong> like the spine of a book; early letterforms<\/a><\/strong> have been influenced by the typography encountered in the 16th century botany reference books she regularly worked on. Indeed, this lettering even influenced her paintings of trees<\/a> <\/a><\/strong>which all possess distinctly serif-like bases to their trunks. The tree paintings are some of the most numerous in the exhibition and they reflect both her background and her general disposition; as Kilgallen noted \u201cI was a nature kid\u2026I used to just sit in the treehouse for hours\u201d.\u00a0<\/p>\nThe exhibition reaches its crescendo with three monumental works in the final room. Adjacent to a 26\u2019 long unstretched canvas which now resides in the permanent collection of the San Francisco Museum of Modern Art<\/a><\/strong>, hangs \u2018Money to Loan<\/a><\/em><\/strong>\u2018 which combines typographic, figurative and decorative elements to create a folkloric urban landscape. In many ways, it is a love letter to the hand painted signs around the Mission District with multiple references to the neighbourhood\u2019s Chicana heritage and a pawnbrokers<\/a><\/strong> which at the time was located on 6th Street. \u201cI like things that are handmade,\u201d the artist explains in respect of the storefront lettering \u2018in that they did it themselves. That\u2019s what I find beautiful\u2019.\u00a0<\/p>\nMain Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/12-Dulce-Creek-Hummable-Cardiff-2.gif\"){kind=link}
![stitched together<\/a><\/strong> like the spine of a book; early letterforms<\/a><\/strong> have been influenced by the typography encountered in the 16th century botany reference books she regularly worked on. Indeed, this lettering even influenced her paintings of trees<\/a> <\/a><\/strong>which all possess distinctly serif-like bases to their trunks. The tree paintings are some of the most numerous in the exhibition and they reflect both her background and her general disposition; as Kilgallen noted \u201cI was a nature kid\u2026I used to just sit in the treehouse for hours\u201d.\u00a0<\/p>\nThe exhibition reaches its crescendo with three monumental works in the final room. Adjacent to a 26\u2019 long unstretched canvas which now resides in the permanent collection of the San Francisco Museum of Modern Art<\/a><\/strong>, hangs \u2018Money to Loan<\/a><\/em><\/strong>\u2018 which combines typographic, figurative and decorative elements to create a folkloric urban landscape. In many ways, it is a love letter to the hand painted signs around the Mission District with multiple references to the neighbourhood\u2019s Chicana heritage and a pawnbrokers<\/a><\/strong> which at the time was located on 6th Street. \u201cI like things that are handmade,\u201d the artist explains in respect of the storefront lettering \u2018in that they did it themselves. That\u2019s what I find beautiful\u2019.\u00a0<\/p>\nMain Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/16-Stitching.jpg\"){kind=link}
![early letterforms<\/a><\/strong> have been influenced by the typography encountered in the 16th century botany reference books she regularly worked on. Indeed, this lettering even influenced her paintings of trees<\/a> <\/a><\/strong>which all possess distinctly serif-like bases to their trunks. The tree paintings are some of the most numerous in the exhibition and they reflect both her background and her general disposition; as Kilgallen noted \u201cI was a nature kid\u2026I used to just sit in the treehouse for hours\u201d.\u00a0<\/p>\nThe exhibition reaches its crescendo with three monumental works in the final room. Adjacent to a 26\u2019 long unstretched canvas which now resides in the permanent collection of the San Francisco Museum of Modern Art<\/a><\/strong>, hangs \u2018Money to Loan<\/a><\/em><\/strong>\u2018 which combines typographic, figurative and decorative elements to create a folkloric urban landscape. In many ways, it is a love letter to the hand painted signs around the Mission District with multiple references to the neighbourhood\u2019s Chicana heritage and a pawnbrokers<\/a><\/strong> which at the time was located on 6th Street. \u201cI like things that are handmade,\u201d the artist explains in respect of the storefront lettering \u2018in that they did it themselves. That\u2019s what I find beautiful\u2019.\u00a0<\/p>\nMain Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/06-Medievel.jpg\"){kind=link}
![trees<\/a>](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/92-Trees.jpg\"){kind=link}
![Money to Loan<\/a><\/em><\/strong>\u2018 which combines typographic, figurative and decorative elements to create a folkloric urban landscape. In many ways, it is a love letter to the hand painted signs around the Mission District with multiple references to the neighbourhood\u2019s Chicana heritage and a pawnbrokers<\/a><\/strong> which at the time was located on 6th Street. \u201cI like things that are handmade,\u201d the artist explains in respect of the storefront lettering \u2018in that they did it themselves. That\u2019s what I find beautiful\u2019.\u00a0<\/p>\nMain Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/24-Money-to-Loan.jpg\"){kind=link}
![pawnbrokers<\/a><\/strong> which at the time was located on 6th Street. \u201cI like things that are handmade,\u201d the artist explains in respect of the storefront lettering \u2018in that they did it themselves. That\u2019s what I find beautiful\u2019.\u00a0<\/p>\nMain Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/25-Money-to-Loan-detail-1.jpg\"){kind=link}
![Main Drag<\/a><\/strong>, which was originally shown at the Institute of Contemporary Art in Philadelphia<\/a><\/strong>, was Kilgallen\u2019s most ambitious work both in terms of its physical scale and its wide-ranging, cinematic narrative. The huge patchwork of storefronts, portraits and letterforms alludes to southern California\u2019s coastal towns and the community to which they\u2019re home. The work is a testament to the Amish resourcefulness that she so admired, both in the sense that many of the raw materials used were scavenged and because painted elements from her previous two shows at Deitch Projects<\/a><\/strong> and the Hammer Museum<\/a><\/strong> have been repurposes and incorporated into the new installation. The towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/30-Main-Drag.jpg\"){kind=link}
![towers<\/a><\/strong> were inspired by shacks made from billboards she encountered in Baja California and the bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/31-Main-Drag-detail-1.jpg\"){kind=link}
![bars of soap<\/a><\/strong> tumbling out of them are reminiscent of the ex-voto in the Igreja Nossa Senhor Do Bonfim<\/a><\/strong> church in Brazil which she visited with McGee in 1994. Modest gems can be found nestled throughout the work\u2019s overall ecosystem: a surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/37-Main-Drag-detail-8.jpg\"){kind=link}
![surfer heads to the beach<\/a><\/strong> down a street which exists both in and out of time; the demeanour of a mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/32-Main-Drag-detail-2.jpg\"){kind=link}
![mariachi violinist<\/a><\/strong> has been executed with a disarming economy of line; the letters B.V.<\/a><\/strong> in the bottom left have been rendered in a characterful carnival script and reference one of her husband\u2019s occasionally used monikers \u2013 Bernon Vernon.<\/p>\nIn the artist\u2019s statement from her first solo show in 1997, Kilgallen said \u201cI am interested in things made by the human hand\u201d. This exhibition is a celebration of the imperfections created by the human hand and the beauty which that reveals about ourselves.<\/p>\nPhoto credit: feralthings<\/a><\/strong><\/p>\n<\/p><\/div>\n](\"https:\/\/arrestedmotion.com\/wp-content\/uploads\/2022\/03\/36-Main-Drag-detail-7.jpg\"){kind=link}